"Once upon a time there was a young woman who was more courageous than all the men in her mountain village".
Given the era, what sounds like a fictitious story really happened. Anna Stainer-Knittel's (b. 1841) life was novelized and serialized with filtered in motifs from Tyrolean legend in a Milan paper by Wilhelmine von Hillern, where the Italian composer Alfredo Catalani became aware of it.
It's first staging at La Scala in Milan, 1892 met with great approval.

Alfredo Catalani
LA WALLY

Stromminger – Marc Kugel
Wally – Susanna von der Burg
Giuseppe Hagenbach – Paulo Ferreira
Vincenzo Gellner – Bernd Valentin
Walter – Susanne Langbein
Afra – Kristina Cosumano
Il Pedone – Johannes Wimmer

Tiroler Landestheater Chorus
(chorus master: Michel Roberge)
Innsbruck Symphony Orchestra
Alexander Rumpf, conductor

Johannes Reitmeier, stage director
Thomas Dörfler, set designer
Michael D. Zimmermann, costume designer
Johann Kleinhein, lighting designer

Recorded live from the Tiroler Landestheater, Innsbruck, 2012

Picture format: NTSC 16:9
Sound format: Stereo 2.0 / Surround 5.1
Region code: 0 (worldwide)
Subtitles: Italian, German, English
Running time: 119 mins
No. of DVDs: 1 (DVD 9)

Francesco Cavalli
ERCOLE AMANTE

Ercole – Luca Pisaroni
Iole – Veronica Cangemi
Giunone – Anna Bonitatibus
Illo – Jeremy Ovenden
Deianira – Anna Maria Panzarella
Licco – Marlin Miller
Nettuno / Tevere / Spirit of Eutyro – Umberto Chiummo
Bellezza / Venere – Wilke te Brummelstroete
Cinzia / Pasitea / Spirit of Clerica – Johannette Zomer
Mercurio / Spirit of Laomedonte – Mark Tucker
A Page / Spirit of Bussiride – Tim Mead

Netherlands Opera Chorus
Concerto Köln
Ivor Bolton, conductor

David Alden, stage director

Recorded live from the Het Muziektheater, 2009.

Bonus:
- Illustrated synopsis.
- Cast gallery.
- Behind the scenes with Johanette Zomer.
- Behind the scenes with Luca Pisaroni.
- The making of Ercole Amante.

Picture format: NTSC 16:9
Sound format: PCM Stereo and 5.0
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Italian, Dutch
No. of DVDs: 2

This production of Francesco Cavalli’s Il Giasone was filmed in January 2017 at the Grand Théâtre of Geneva. It forms a part of the ‘Cavalli tetralogy’ of the past few years, conducted by the man who has become Cavalli’s great ambassador: Leonardo Garcia Alarcón. Il Giasone, Dramma musicale, in a Prologue and Three Acts, first performed on 5 January 1649, alternates the tragic with the comic, with no concern for fidelity to the mythological legend of Jason and Medea. Francesco Cavalli’s opera, composed for the carnival season in Venice, presents a mosaic of contrasted episodes, rich in musical emotions. His music here attains a remarkable degree of evocative power, with la musica having the upper hand over la dramma. Il Giasone represents the subtle equilibrium between lyricism and narrative. The comic, the tragic, and the supernatural all meet and mingle, and Cavalli’s Lamenti – forming the climax of the work – are particularly unequalled,. Resolutely burlesque and zany, Serena Singaglia’s production celebrates the opera’s sensuality. Le Temps commented: ‘In the pit, the Cappella Mediterranea with Garcia Alarcón pursue a sense of musical flux with delicacy, lightness and quick-footedness, ideally responding to the score’s demands. With an instrumental sound that is both round and sprightly, they succeed in capturing the ludic dimension of the work, its melodic freshness, and its harmonic tensions. Drama and rapture are artfully fused together.”

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REVIEW:

The top-notch cast really savor the score’s lyricism, balancing all the cross-dressing camp with something disarmingly heartfelt. Dominique Visse is an irrepressible Delfa, taking ‘her’ pleasure wherever possible, and there are fine cameos from the veteran tenor Raúl Giménez as the cuckolded Egeo (cruelly styled as Peter Ustinov’s Poirot in Death on the Nile), Willard White’s Oreste and Migran Agadzhanyan as a nervily energetic Demo.

– Gramophone

Also available on Blu-ray

Francesco Cavalli was the most successful Venetian opera composer of the mid-seventeenth century. In the wake of Monteverdi, opera was enjoying a real boom, and this spread to the rest of Europe because the ruling classes often met up at the Venice carnival. Giasone displays Cavalli’s sense of drama and musical lightness, as well as a grotesque humour typical of the great Italian baroque operas.

This new production is orchestrated and conducted by the internationally reputed baroque specialist Federico Maria Sardelli. It is directed by the young Frenchwoman Mariame Clément, who is currently making a name for herself with her infectious directing in German and French opera houses. The title role is sung by the promising countertenor Christophe Dumaux.

Francesco Cavalli
IL GIASONE
Federico Maria Sardelli, conductor
Symfonisch Orkest van de Vlaamse Opera
Mariame Clément, stage director
Julia Hansen, scenes & costume designer
Giasone: Christophe Dumaux
Medea: Katarina Bradic
Isifile: Robin Johannsen
Giove/Besso: Josef Wagner
Demo: Filippo Adami
Delfa/Eolo: Yaniv d’Or
Amore/Alinda: Angélique Noldus
Ercole/Oreste: Andrew Ashwin
Vlaamse Opera, Antwerpen, 2010

Sound Format: LPCM 2.0, Dolby digital 5.1
Picture Format: 16:9
Running Time: 198 minutes & 5 minutes (interview)
Language: Italian
Subtitles: English, German, French, Italian, Spanish, Korean
Booklet Notes: English, German, French, Italian

Also available on Blu-ray

Pietro Antonio Cesti was one of the most outstanding champions of 17th-century Venetian opera, and La Dori was both his greatest success and a major influence on the genre in the expressiveness of its arias and duets. The story is set in Babylon on the shores of the Euphrates, and is a convoluted and richly tragicomedic tale of lost lovers, disguises and mistaken identities filled with larger-than-life and colourfully costumed characters. This revival of a forgotten masterpiece was acclaimed as ‘a production of the highest level in every aspect’ (musicaculturaonline.it).

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Pietro Antonio Cesti was one of the most outstanding champions of 17th-century Venetian opera, and La Dori was both his greatest success and a major influence on the genre in the expressiveness of its arias and duets. The story is set in Babylon on the shores of the Euphrates, and is a convoluted and richly tragicomedic tale of lost lovers, disguises and mistaken identities filled with larger-than-life and colourfully costumed characters. This revival of a forgotten masterpiece was acclaimed as ‘a production of the highest level in every aspect’ (musicaculturaonline.it).

Also available on Blu-ray

L’Étoile did much to establish Chabrier as a major force on the Parisian stage and his contemporary Henri Duparc praised him specifically for creating a French comic genre, both funny and musical – described as something of a French Die Meistersinger. The fanciful story is set in an imaginary kingdom and all, naturally, ends well. However, despite the slight plot line L’Étoile is something of a pivotal work, a unique example of French 19th-century light opera, orchestrated with great sophistication and flooded with gossamer wit. This production, featuring Stephane d’Oustrac, Christophe Mortagne, and Helene Guilmette, is a co-production of the Dutch National Opera, Amsterdam and Francois Roussillon et Associes.

I remember the Great Unus of Ringling Brothers Circus placing a round glove on top of his upright cane-then proceeding to balance himself by standing on his forefinger. Of course that's the answer-it can't be done. Like the Great Unus, is this some kind of magician's trick Mr. Rich is putting on us? - that we really don't hear or see what we think we do? I recall standing with Shelly Manne and Bobby Rosengarden at the Nice Jazz Festival in 1978. We stood to the right side of the bandstand so Shelly and Bobby could watch Buddy's right foot! Just his right foot! After the set, they looked at each other in disbelief. It was obviously an illusion they had seen. During a Rich engagement in Los Angeles some years ago, twenty-two drummers were in the audience. At the conclusion of the "Channel One Suite" half of them were openly crying. One should not try to explain the magician's trick-once you know the modus of operandi, the thrill is gone. So keep your secrets, Buddy Rich, and let the audience forever be amazed and in wonderment of your art. The Great Unus may have retired, but Traps, the Drum Wonder makes US all believers. - Johnny Carson Includes: Machine, Best Coast, One O'Clock Jump, Sophisticated Lady, Norwegian Wood, Love for Sale, No Exit, Channel One Suite.

This comprehensive 3 DVD set, starring Anton Lesser, Daniel Radcliffe, Ian McKellan, Maggie Smith, explores the life, times and work of Charles Dickens, the great Victoria author. The full content of this box set demonstrates how much Dickens drew upon his own experiences when writing fiction. DVD 1 - Uncovering the Real Dickens - the great author's fascinating biography, presented by Peter Ackroyd is an innovative mix of documentary and dramatic reconstruction which vividly portrays his extraordinary life. Resembling the plot of one of his novels, this lavish literary production sets out to blur the lines between Dickens' fiction and his own life. The cast includes Anton Lesser, Prunella Scales and Timothy West (176 minutes).DVD 2 - David Copperfield - the classic 1999 BBC version of the most autobiographical of Dickens novels staring a star cast Bob Hoskins, Daniel Radcliffe, Maggie Smith, Ian McKellan, Zoe Wanamaker and Nicolas Lyndurst. Three hours of classic BBC drama. (186 minutes). DVD 3 - a Christmas Carol - at his house, a group of friends and relatives listen to Dickens as he tells his Christmas story. Anton Lesser as Dickens, brings this classic ghost story to life in a masterly and haunting way. (97 minutes).

In occasion of it's 200th season opening, Teatro Real presents a spectacular new production of Gounod's Faust, directed by Àlex Ollé (La Fura dels Baus). Set in a futuristic laboratory, Goethe's timeless themes of knowledge, desire, and redemption are reimagined through the lens of artificial intelligence and human emotion. Star singers including Piotr Beczala, Marina Rebeka, and Luca Pisaroni lead the cast in this gripping drama. Under the baton of Dan Ettinger, the Orchestra and Chorus of the Teatro Real deliver a thrilling performance that, as Bachtrack wrote, "takes it's cue from Goethe but doesn't shy away from theatrical imagination." // "Beczala's voice was brilliant, dark and even powerful with ringing high notes as he proved with his ringing high C in Salut demeure chaste et pure." (Operawire)

Christmastime is here. Happiness and cheer. And for Peanuts fans everywhere, it just wouldn't be Christmas without this classic holiday delight. Christmas lights may be twinkling red and green, but Charlie Brown has the Yuletide blues. To get in the holiday spirit, he takes Lucy's advice and directs the Christmas play. And what's a Christmas play without a Christmas tree. But everyone makes fun of the short, spindly never green Charlie Brown brings back until the real meaning of Christmas works it's magic once again in this Remastered Deluxe Edition with Improved Picture and Audio.

Once upon a time, Jill, Sabrina & Kelly were police officers whose skills were being wasted in menial duties. A mysterious millionaire named Charles Townsend took them away from all that by opening his own private investigation agency and hiring these gorgeous ladies as his operatives with John Bosley acting as their assistant and liaison. Starring all of the Angels in all their adventures from one of the most classic shows in television history.

The rare biblical opera 'David and Jonathas' is like 'Médée', one of the major works of the French Baroque composer Marc-Antoine Charpentier. The opera has been in the repertoire of Les Arts Florissants since 1988 and was first presented in a stage production by William Christie at the Aix-en-Provence Festival 2012. This DVD release is a special event for all Baroque music lovers.

Written a year after the death of Lully, this lyric tragedy allows Charpentier to develop beyond the religious dimension, a story of male friendship and forbidden love between David and Jonathas. An excellent cast gathered around William Christie and Les Arts Florissants brings young singers to the title roles: Pascal Charbonneau, a tenor and a former student of the European Academy of Music, sings David. The role of Jonathas is given to a woman: soprano Ana Quintans.

The staging by Andreas Homoki (Director of the Zurich Opera since summer 2012) focuses on the psychological aspect of this forbidden love story, giving a moving reading of the drama.

Direction: Andreas Homoki
Scenography: Paul Zoller
Costumes: Gideon Davey
Lighting: Franck Evin

R E V I E W:

Marc-Antoine Charpentier’s lack of official affiliation with the French court’s rather formal musical establishment under Jean-Baptiste Lully had two effects, as I noted in my other review this issue. First, he was free to do other things, and since Lully was not especially interested in sacred music, Charpentier was pretty much left on his own to develop music in the church, which he did in a grand style. As a sideline, he was also freed from the inevitable debate that arose between adherents of the French and Italian styles, for having been trained in Italy, he felt free to dip in and out of both with some alacrity. Second, as someone not under Lully’s sway, his desire to compose for the stage was rather curtailed, since the tragédie lyrique was not something he was able to compose officially. Not until 1693 did his only work in this genre, Medée, come to the stage, notably a number of years after Lully’s death and the implosion of his musical dynasty. In the meantime, he dabbled in the form with a series of Jesuit works for the Collège de Louis-le-Grand, of which David et Jonathas from 1688 was the most “operatic” (though of course he was able to get a number of pastorals and ballets performed at the Opéra). Consisting of the usual five acts and prologue, he altered the form somewhat, interspersing the Divertissement at the beginning and end of each act instead of placing it all in a bunch at the end. Otherwise, the flow of the work pretty much follows that of the normal secular works composed by Lully and others.

Insofar as the plot goes, this seems to have been a gloss on a play by Etienne Chamillart, performed at the same time, which fleshes out the story of the friendship of David and Jonathan. In a prologue, the seer (here called somewhat ironically La Pythonesse instead of the Witch of Endor) foretells Saul’s defeat through the shade of the prophet Samuel. Act One opens with the Philistines, here seemingly dressed in a motley sartorial concoction of djelabas, working clothes with suspenders, and bright red fezzes, cheering on David (sung here by high tenor Paul Charbonneau), while their King, Achis (sung with a resonant bass by Frédéric Caton, dressed like a Grand Mufti), decides to negotiate a truce with Saul (sung in an equally expressive and resonant bass by Neal Davies, dressed in a weskit and working-class pants). This annoys the general of the Philistine army, Joabel (sung in a lighter tenor by Kre?imir ?picer, who is somehow dressed in a strange turban and has a stringy long goatee), who then plots to destroy David. In the meantime, David meets with his friend Jonathas (sung in a pants role by soprano Ana Quintans, who sports a strange intellectual look replete with dark-rimmed glasses). In the Third Act, Saul’s jealousy explodes, and when Achis won’t execute David and Jonathas also refuses, he prepares to abrogate the truce with the Philistines. Jonathas is gravely wounded in the battle that follows, and although filled with remorse, Saul still attempts to kill David, even though mortally wounded himself. When Jonathas dies in David’s arms, David is overcome with despair, and even the proclamation by Achis that David is now the King of Israel fails to cheer him up.

As far as plots for operas go, this one is probably a step up from the usual opera seria or French classical plot of the time, for it contains a great deal of pathos and character development. If there is a moral to the story, it seems rather dispersed among the various turns of the plot. The music is set in a through-composed manner, with recitative and aria flowing easily in and out of each other, and Charpentier’s choice of limiting the dances to the beginnings and ends of each act allows for the plot to develop more smoothly.

Insofar as the music goes, the singing is first-rate and, as expected, William Christie’s venerable Arts Florissants ensemble is virtually flawless in their execution of Charpentier’s rich score. If this was a disc, I would purchase it in an instant. I found it every bit as good if not better than his release back in 1998 on Harmonia Mundi (which was re-released just this past year), and I like it much better than the old Erato recording with Opera Lyon. Unfortunately, it is not, and the reason is the staging. The set is a movable wooden box, with basically a large wood picnic table and chairs for props. The walls are movable, including an awkward moment in the final triumphal chorus scene at the end where the chorus is crowded together as the walls hem them in, looking very much at one moment like the interior of a cattle car. The costumes are also bizarre. The Israelites look very much like refugees from some sort of Russian steppe, sometimes with Hasidic hats, while the Philistines are a mismatched bunch of pseudo-Turkish peasants, looking for all the world like they desperately need both shaves and baths. The principals are not immune to this sartorial faux pas, for Jonathas looks like a bit of a nerd and David a working-class bloke straight from a factory. Even their “friendship” is supposed to heighten the homoerotic story, but Quintans doesn’t really act like a guy, just someone who has cross-dressed. Finally, Neal Davies has been directed to play Saul mostly on his knees, grimacing ferociously into the camera. Even the Pythoness and her hoard of priestesses look like they stepped right out of a rural diner in their checked gingham dresses. Of course, this has nothing to do with Charpentier or his dramatic music, or even the terrific musicality of the vocalists. But for visuals, this is yet another bizarre attempt to “update” the setting by doing something artistically unfathomable. Too bad; the artistry of the performers deserves better.

FANFARE: Bertil van Boer

Also available on Blu-ray

The works of award-winning composer Chaya Czernowin have been performed worldwide at significant new music festivals and prestigious venues, and she is the first woman to be appointed composition professor at Harvard University. Commissioned by Deutsche Oper Berlin and widely acclaimed in the critical press, ‘Heart Chamber’ uses voice and stage as internalized sonic and visual landscapes to create a genuine multi-sensory musical experience. With only two characters and a hint of a narrative, this is a grand opera on the smallest of transformations, focusing on the intense beauty and vulnerabilities of falling in love. ‘It is seldom that audiences at the Deutsche Oper Berlin have listened with such rapture to a new commission’ (Online Merker). Director Uli Aumüller’s feature film ‘I did not rehearse to say I love you’ is also included and takes a behind-the-scenes look at the creation of the opera.

Wander in pull up a stool and make yourself at home where everybody knows your name with Cheers: The Complete Series, featuring all 270 episodes from 11 seasons, plus a host of exciting featurettes on 45 discs with vivid picture and sound quality. Ted Danson stars as Sam Malone, former relief-pitcher for the Boston Red Sox turned sober saloon owner of a popular neighborhood spot. Add a colorful cast of co-stars (Shelley Long, Kirstie Alley, Rhea Perlman, George Wendt, John Ratzenberger, Nicholas Colasanto, Woody Harrelson, and Kelsey Grammer) and you're all set to raise a glass to the legendary, 28-time Emmy Award-winning series GQ Magazine calls pretty much perfect.